Page 72 - Christie's London Fine Chinese Ceramics Nov. 2019

[i] The urna is variously termed 光毫, 玉豪, 白毫, and 素豪 in Chinese; the ray of light Press), 2019, p. 54-55, fgs. 2.1, 2.2, and 2.3.
issuing from the urna is generally termed 眉間白毫相. In fact, many Hindu deities indeed [xii] See: https://collections.vam.ac.uk/item/O25029/the-buddhist-goddess-tara-
have a third eye at the center of the forehead, but Buddhist deities, and particularly sculpture/
the Buddhas, have a magical curl of hair between the eyebrows. The urna is one of the [xiii] See: https://www.metmuseum.org/art/collection/search/39351?&searchField=Al
thirty-two special physical characteristics of the Buddha, known as the Thirty-Two l&sortBy=Relevance&ft=1982.220.14&ofset=0&rpp=20&pos=1
Signs of a Great Man. This refers to the laksana-vyanjana, known in Chinese as the [xiv] See: http://www.clevelandart.org/art/1971.170
xianghao 相好, with xiang referring to the thirty-two major marks, and hao 好 to the [xv] Denise Patry Leidy, Donna Strahan et al., Wisdom Embodied: Chinese Buddhist
eighty secondary signs on the physical body of Buddha. and Daoist Sculpture in the Metropolitan Museum of Art (New York: Metropolitan
[ii] In Sanskrit, a halo behind the head is termed prabhamandala or siras-cakra, while Museum of Art; and New Haven, CT, and London: Yale University Press), 2010, pp.
the mandorla, or full-body halo, is called a prabhavali. 148-151, no. 37.
[iii] For books on Buddhist art relevant to this sculpture, see: Pratapaditya Pal et al., [xvi] On this topic, see: Xie Jisheng 謝繼勝, “Acala/Trailokyavijaya in Silk: A Tangut
Light of Asia: Buddha Sakyamuni in Asian Art (Los Angeles: Los Angeles County Synthesis of Tang Esoteric and Tibetan Tantric Traditions” in Debreczeny, ed., Faith
Museum of Art), 1984; Denise Patry Leidy, The Art of Buddhism: An Introduction to and Empire, 2019, translated by Zhu Renxiao. Also see, by the same author: Xie
Its History and Meaning (Boston: Shambhala; distributed in the United States by Jisheng, Xixia Zang chuan huihua: Heishuicheng chutu Xixia tangka yanjiu [Tibetan-
Random House), 1st ed., 2008; Denise Patry Leidy, Donna Strahan, et al., Wisdom Style Painting in Xixia: Research on Xixia Thangkas Excavated at Heishuicheng]
Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of (Shijiazhuang: Hebei Jiaoyu Chubanshe), 2002, in the series Xizang yishu yanjiu xilie
Art (New York: Metropolitan Museum of Art and New Haven: Yale University Press), [Research on Tibetan Art], 2 volumes / 謝繼勝著, 《西夏藏傳繪畫: 黑水城出土西夏唐卡硏
2010; Pratapaditya Pal, The Arts of Nepal (Leiden, The Netherlands: E. J. Brill), 究》 (石家莊市: 河北敎育出版社), 2002年， 《西藏艺术硏究系列》, 2卷.
1974; Pratapaditya Pal, ed., On the Path to Void: Buddhist Art of the Tibetan Realm [xvii] Zhao Yanlong, “Qiantan XiXia gongwen wenfeng yu gongwen zaiti” [A Brief
(Mumbai, India: Marg Publications), 1996. Discussion on the Writing Style in Xi Xia Oficial documents and on Documental
[iv] Note that 菩薩 is a contraction of 菩提薩埵, which is a Chinese transliteration of the Carriers], Xibei Minzu Yanjiu [Research on Northwest Nationalities], vol. 45, no. 2
Sanskrit term “bodhisattva”. (2005), pp. 78-84 / 趙彥龍, “淺談西夏公文文風與公文載體”, 《西北民族研究》, 45, no. 2
[v] For information on bodhisattvas, see: Robert E. Buswell, Jr. and Donald S. Lopez, (2005年), 78-84頁.
Jr., The Princeton Dictionary of Buddhism (Princeton, NJ: Princeton University Press), [xviii] For the classic English-language study on the inclusion of dedicatory objects
2013; Damien Brown, A Dictionary of Buddhism (Oxford, England, and New York: within the cavities of hollow religious sculptures, see: John M. Rosenfeld, “The
Oxford University Press), 2003; Paul Williams, Mahayana Buddhism: The Doctrinal Sedgwick Statue of the Infant Shotoku Taishi,” Archives of Asian Art, vol. 22 (1968-
Foundations, 2nd ed., in the Library of Religious Beliefs and Practices series (New 69), pp. 56-79; also see: Chandra L. Reedy, “The Opening of Consecrated Tibetan
York: Routledge), 2009. Bronzes with Interior Contents: Scholarly, Conservation, and Ethical Considerations”,
[ix] Compare the fourteenth-century gilt bronze Buddha Shakyamuni in Nepalo- Journal of the American Institute for Conservation, vol. 30, no. 1 (1991), pp. 13-34.
Chinese style illustrated in: Robert R. Bigler, Before Yongle: Chinese and Tibeto- [xix] For an image of the interior of a Yongle period 永樂年 (1403–1424) gilt bronze
Chinese Buddhist Sculpture of the 13th and 14th Centuries (Zurich, Switzerland: sculpture with dedicatory objects packed inside, see: Denise Patry Leidy, Donna
Robert R. Bigler Asian and Egyptian Art), 2015, pp. 92-93, no. 21. Strahan, et al., Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the
[x] See: Helmut Uhlig, On the Path to Enlightenment: The Berti Aschmann Foundation Metropolitan Museum of Art, New York: Metropolitan Museum of Art and New
of Tibetan Art at the Museum Rietberg Zurich (Zurich, Switzerland: Museum Haven: Yale University Press, 2010, p. 151, fg. 110; for an image of one of the miniature
Rietberg), 2011, pp. 73-74, no. 31. scrolls removed from that sculpture and unfurled, see: Leidy and Strahan, Wisdom
[xi] See: Karl Debreczeny, ed., Faith and Empire: Art and Politics in Tibetan Buddhism Embodied, pp. 150-151, fg. 109.
(New York: Rubin Museum of Art; distributed by Seattle: University of Washington

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